flamingguitarhero:

khemical-kitten:

What I understand about Mad Max: Fury Road from tumblr (i havent seen it yet sadly)

-Max is Dad who is either angry or confused and is tired of people taking his things

-Furiosa is basically badass female jesus to the wives. Also much cool.

-The wives are also badass and are adorable

-Grandmas can be badasses too

-Nux is sinnamon roll who becomes cinnamon roll

-Slit is lizard

-Immortan Joe is satan

-Morsov is mediocre

-Coma isn’t here for war, he’s here for the gig

You hit the nail on the head

(Source: cloakedgalaxy, via bonehandledknife)

fury road and r-rated violence

fuckyeahisawthat:

image

I’ve written and reblogged a lot of stuff about Fury Road’s style of action, the way it lets its female characters be bloody, dirty and angry, and the way it takes violence seriously.

This is obviously a stylistic choice, but it’s only possible because the movie is rated R (no children under 17 without an adult) in the American rating system.

The MPAA rating system is ludicrous and arbitrary in many ways; getting into all that is beyond the scope of this post. (For a good expose, check out the documentary This Film is Not Yet Rated.)

The vast majority of blockbuster action movies Hollywood releases today are rated PG-13. Getting into the history of why that’s the case is also beyond the scope of this post, because it has to do with the rise of the blockbuster model of cinema and how the film industry has changed over the past 30 years. (This article is a good primer, though.) The TL;DR is that studios want teenagers (implicitly, teenage boys) to be able to go see big-budget action movies with or without their parents, because $$$. So they must be rated PG-13.

This puts constraints on what you can show in terms of violence, but not necessarily the ones you might expect.

Return of the King, in which armies slaughter each other on the plains of Pelennor Fields by the thousands? PG-13.

Every movie in the Jurassic Park franchise, in which dinosaurs repeatedly eat people? PG-13.

Man of Steel, in which the third act fight between Superman and Zog would have killed an estimated 129,000 people in real life? PG-13.

The first cut of The Avengers was given an R rating–not for any of the scenes where midtown Manhattan gets smashed to rubble in a battle between superheroes and aliens, but for the scene where Loki stabs Coulson. (Seeing the blade come out of Coulson’s torso was apparently the dividing line between PG-13 and R, which seems pretty arbitrary since the PG-13 Lord of the Rings franchise has plenty of impalements. The scene was re-cut to get a PG-13 rating.)

While each of the examples above is slightly different in terms of what it does and doesn’t show in terms of violence, there’s a particular style of bloodless mass destruction that’s become a mainstay of a lot of PG-13 action, particularly many superhero movies. You can smash whole cities in battles in which thousands, or hundreds of thousands, of people die, but if you don’t show any blood or bodies? PG-13.

While Fury Road is actually quite restrained compared to how gory it could be, given everything that happens in the course of the movie, it has violence that mostly actually looks real. People bleed when they get hurt or killed; injuries that should be life-threatening actually are; and there are a few moments that are, I would say, appropriately gross. The movie sometimes bends the rules (Max really should have some blood on his forehead from the bolt he almost gets impaled with) but for the most part, the violence looks like it’s actually violent. It has consequences.

It’s a matter of personal taste, but I much prefer this kind of violence. But while there are R-rated action franchises (The Matrix) and R-rated recent installments of older franchises (Prometheus; the latest Die Hard), R-rated action movies–ie., action movies made explicitly for adults–are considered somewhat of a financial risk in Hollywood. Which is too bad, because Fury Road made me want more of them.

bonehandledknife:

youkaiyume:

bassfanimation:

I can’t help but feel Max’s Interceptor is almost like a replacement for his lost family, in a symbolic sense.  He sees the Interceptor as “home”.  It’s how he says it in the comic too.  So let me present to you some very sad thoughts I’ve had about this:

Max talking to the Interceptor as if it is Jess.  Looking over to the seat next to him and imagining her laughing with him when they were young.

Max thinking about all the times he and Jess cruised together.

Max remembering how it felt to be a good man, driving that car, knowing people looked to him to be a hero.  Him being okay with that, taking pride in that.

Max out on the road, late night of working, and he stops in the middle of nowhere just to look up at the stars to remember the world still has beautiful things to see.  He looks over to the seat next to him and Jess’s image is there, smiling at him, agreeing that yes, there’s still beautiful things to see.

Max rolling up to the Citadel in a nearly battered-beyond-function Interceptor.  It’s caked in mud, has had numerous thundersticks thrown at it, mirrors all gone.  When a familiar face greets him, he feels so ashamed of his attachment to the car that he can’t bear to look at her, save a quick flash of red eyes.

Furiosa helping get the Interceptor into the garage, scooting under the it to inspect the extent of the damage.  She says from under the mass of wrecked metal that it’s not so bad, not bad all.  Max doesn’t believe her, he knows how bad the condition is.

Furiosa asks if she can look inside, and on Max’s nod she opens the door.  She touches everything reverently and gently.  She knows.  She looks at Max and says “She’s a beauty.  You’ve taken great care of her.”  Max wants to look at her but he can’t, he stays with his back turned.

Days go by, nights go by.  Furiosa doesn’t leave the garage.  Max takes short walks to think, alone.  He’s not sure about what he’s looking for anymore.  When he goes back to the garage, he tells Furiosa, who’s been working for days, to get some rest.  She simply replies that she’s never been a sleeper.

Max wakes up to see an empty space in the garage.  Just outside he hears running water.  He’s not alarmed at all, he knows Je—the car, is in good hands.  She’d feel safe if she were here.  He shuts his eyes again and drifts back off into daydreams.

When he finally wakes up, Max sees something that almost makes him think time has reversed.  The Interceptor, almost glimmering in the sun, has returned to him.  He is so amazed all he can do is stare, and walk around the car in a circle with his hands tangled in his tousled hair.  

Furiosa says he should take her out, see how she feels.  Max is almost giddy.  He opens the door, sees the newly cleaned interior, or as clean as it can possibly be in this world.  He goes to start the car, but he pauses, looks out from the window and nods over to Furiosa. 

As much as she wants to go with him, she knows it’s not her place.  “Go on, go, but come back and at least tell me how she does.”  She wipes her dusty brow and begins to walk away, but Max calls back to her, “Hey” Again he nods to the other door, more insistently this time.  

She gives in, but only because he asked twice.  She wanted him to be sure it was ok.  

As Max drives the Interceptor out onto the plains, he marvels at how smoothly she runs.  She feels almost brand new.  She’s still beat up, dusty, she’s been through everything with him, but she feels new.  How?  He swerves sharply to test the vehicle further, and he actually hears himself let out a laugh.  For the first time in so long, he’s forgotten what it felt like.  

Suddenly he hears another laugh, and he looks to the seat next to him.  There’s a familiar face, but not the one he usually sees.  Another laugh he’s never heard, another smile he feels he’s waited for for a long time.  He feels more at home than he has in ages.  But something feels wrong, too.  He’s not supposed to feel like he’s home.  That’s not the face he’s supposed to see.  He turns to drive back to the garage when he slowly comes to a stop.

Furiosa asks him if the car’s feeling right to him.  He doesn’t look at her, but instead steps out of the car.  He nods to the seat, and then looks at Furiosa.  She stares, gaping at him with a questioning face.  She’s not sure she understands but she’s trying to.  Her face is asking him if he’s sure.  He walks around to the driver’s side and opens the door, motioning her to scoot over to the wheel.  She does, but hesitantly.  

Furiosa has been working with this car for weeks, she’s touched nearly everything on it with a steady hand.  Suddenly, as she goes to grip the wheel, her hands, one flesh, and one metal, are unsteady, trembling.  Max looks at her and then to the road ahead.  She returns the gaze, and understands. 

As she drives the car, she glances at Max before making any move, any decision.  She feels the weight of every movement of the wheels, leaning just so on the ripping turns, shifting the gears on a dime.  She smiles and lets a small laugh escape as a bit of dust flies up onto the windscreen. Max laughs too.  He remembers this feeling like it was yesterday.  Furiosa yells over the roar of the engine, “She’s perfect!”  Max agrees.

It’s twilight as Max drives the Interceptor back to the Citadel.  They’re far enough out that the stars are showing brighter than they do normally.  Furiosa had rested her head in her hand on the door, and had fallen asleep.  All the times he asked her to rest and she wouldn’t do it, but here she is, sleeping not unlike she used to.  On those long, lazy drives together, just having fun.  Just living, with no fears, no feeling alone.  

Max suddenly finds he’s come to a slow stop.  They’re on a small hill and can see the Citadel just in the distance.  The sun is gone, but the sky is an array of colors not unlike the sunsets he loved from his home.  He bows his head to rub his eyes, for some reason burning with wetness, when he glances over to the seat next to him.  She’s still there.  Normally, when the tears come, she disappears.  

Max hears a whisper, not from the seat next to him, but from his open window, in the distance where the sun has set.  “She is perfect, don’t you think?  Good as new.”  Max knew this voice.  He knew it wasn’t real, but she sounded so real.  “New engine, and lot cleaner than you ever kept her…”  Max scanned the distance for her face but saw only the stars.  He frantically looks to the seat next to him, desperate to ask something he needs to know but she’s not there.  Only the sleeping face of this person that can’t answer what he needs to know, because she has the same question as he does.  

Max gazes once more through moist eyes, out to the horizon in front of them.  He sees a hazy figure just beyond the hood of the car. “She’s crazy ‘bout you, you know.”  She turns just enough so that he can make out her delicate profile against the starlight. “It’s ok, Max.”  He sees the shape of her mouth smile, and he collapses, head down, grasping the wheel of the Interceptor.  He can’t quite say it, when he feels a hand rest on his shoulder.

“Hey”, she says, watching him in the now violet dusk.  She can’t see his tears, but she hears the catching in his voice and the sniffs of his nose.  He could do like most and claim it’s just the dust, an excuse she’s used countless times to disguise her own cries.

“Sorry”, Max says as he turns the car on and presses forward, to the Citadel. She tries to lighten the mood by telling him the Interceptor is probably the best car she’s worked on. She slides her weathered hand gently over the dashboard and tells him, “She won’t ever let you down.”   He simply nods, blinking away the last of the tears.  

When they arrive, Furiosa takes a long, lasting look at the Interceptor.  This car means to him something she can’t ask about, something she can never offer him.  This piece of home.  All she could do was try and make her strong again, for him, strong enough to keep him safe for however long he needed her.  This place of rock and steel was not his home.  It wasn’t even her home, but was the best she had.  She looks up from the vehicle to ask if he needs anything more, saying they have plenty of food and water, and of course guzzoline.  Anything he wants, he’s more than welcome.

Max looks at her through the dark, only barely sidelit from the fires of the encampments surrounding the entrance to the tower.  When he doesn’t answer, Furiosa knows she’s offered what she can. It’s time for another goodbye.  

“You…need a couple more hands in the garage…maybe?,” he mutters.  “It’s ok…if you don’t.”

She stops dead in her tracks, facing away from him for a few moments, hiding her tearful smile.  When she’s certain he can’t see much in the growing dark, she turns, and nods towards the gravely road.  “Garage is this way.”

why do you hurt me this way…

OH MY FUCKING GOD ARE YOU POSTING THIS AS FIC, DO YOU NEED AN INVITE?

MY HEART HURTS AND I LOVE IT

youkaiyume:

The War Boys call him “lucky,” to be favored by the Imperator.

The Sisters call him her “support/partner.”

Furiosa calls him “reliable.”

Max thinks the correct term they’re looking for is “furniture.”

But all things considered, he’s been used for worse before. He doesn’t mind being of use to Furiosa.

I said I wanted to draw a series of doodles of Furiosa using Max as various forms of furniture mostly to lean upon…and him making bemused grumpy faces.

The Throne is especially for bonehandledknife 

(via dyinghistoric)

flamethrowing-hurdy-gurdy:

The other logical thought about Furiosa is that if she wasn’t made for men, she must have been made for women.

And, 1. there’s nothing wrong with that

but, 2. she might be made for everybody

There’s that myth about genre media where the genre is human experience, dividing everything into categories, not so much because it’s helpful to find what you’re looking for but because it’s assumed only people from certain communities will be interested in consuming certain media

so you get women’s cinema, and lgbt cinema, and black cinema, and disabled cinema, and when you’re just looking for a regular good movie you don’t really go near those shelves unless you’re connected to the subject because it’s just not universal enough, it’s going to have “an agenda” and you won’t be able to identify.

What horseshit, right? 

And people get so angry about Fury Road being described as feminist because they think that puts the film on the Feminism Shelf where only angry activist women can browse. Someone actually got so angry they said “It’s not yours, it wasn’t made for you!”

Well shit, friend, it’s made for everybody. And if it’s made a little bit more for the women than the men, is that a problem? Strike that: if it’s made a little bit less for the men and a lot less at the expense of women,  is that really a problem?

You enjoyed the film, it’s yours. You identified with someone who wasn’t like you- GOOD. No one’s gonna try and take that away from you. But don’t you be selfish and spoiled, either, don’t try and act like it belongs to you and no one else. Just accept that you enjoyed a movie that wasn’t putting your needs first. Is that so hard? Is that something to be ashamed of?

Because I think it’s fucking wonderful. Especially if you’re in that demographic that always gets catered to.

(via bonehandledknife)

fenrir-kin:

amuseoffyre:

theblanknotebook:

bookishandi:

oolax:

How to: break my heart. A tutorial by Mad Max: Fury Road

Let’s talk about this scene a little, because I noticed a particular detail in my last viewing that’s had me buzzing and buzzing crying a lot.

Let’s start with the obvious: the whole film Nux has wanted to establish his life has some meaning by dying “historic on the Fury Road.” Of course, all his previous efforts were attempts to continue things the way they were–in Immortal Joe’s terms. Thus, those deaths would not have really been historic. They would have been forgotten, just another blip in the status quo. In crashing the rig and allowing the wives to return to the Citadel, Nux does in fact fulfill his wish to die historic–without his actions, the wives likely would not have been able to return to the city and enact the changes they inevitably do. His death matters in a way none of the other deaths in the film do–it matters to changing the future, and thus becomes an important part of the future Citadel’s history.

Nux only knows how to do that in his own terms, though–the terms of the War Boys. Thus, his death only gains significance if it is witnessed. For Nux, the action itself is not as important as it being seen and acknowledged. This makes a lot of sense in terms of Immortal Joe’s world and its patriarchal structure. Individuals are not important, actions don’t matter unless they are showy and seen–all life boils down not to meaningful actions but to showing off.

But here’s why this film is a feminist masterpiece, and why this scene in particular cements that: Capable’s reaction.

Capable does witness him. She locks eyes and acknowledges the significance of his action, of his inevitable death. But she doesn’t respond like one of the War Boys–when the War Boys die asking to be witnessed, the others respond yelling “Witnessed!” This answer does say, “I have seen your action, it matters,” but hollered with usual the War Boy bravado, it also acts as an attempt for the witnessing War Boys to build up their own importance by making themselves part of the action.

Capable does not yell “Witnessed.” She responds with a gesture–holding her hand out and pulling it toward her heart. This is the Vuvalini’s gesture of mourning–a beautiful gesture that essentially mimics pulling the lost soul into one’s own heart. Capable has only just learned this gesture, but she seems to innately understand its significance. Thus, while she witnesses Nux’s death, she refuses to “witness” him in the sense of the War Boys and instead mourns him in the manner of the Vuvalini. Nux likely sees this–the editing implies he doesn’t turn the rig until after he’s seen the gesture. Thus, he knows he is witnessed, but more importantly, he knows that he will be mourned and remembered. With that knowledge, he finally has the strength and the worthy reason to sacrifice his life for a cause that matters.

This moment is also the moment Immortal Joe’s power is officially broken. Yes, Joe is dead, but Rictus and a whole gang of War Boys and their ilk are photon their wheels, ready to re-establish the status quo. In many ways it is a transfer of power–the last call to witness leads to the first time the Wives truly embrace the culture and ideology of the Vuvalini as their guiding principle. Joe’s power is broken not so much by the explosion–though that is certainly the blunt force that finishes the deal. Joe’s power is broken by self sacrifice–a self-sacrifice born not of bravado or the hope of becoming a legend, but one born of community, of love, of hope. Capable’s response guarantees that Nux’s sacrifice will be honored and remembered, but in a new way in their new world.

blue–green

I’m having emotions over the simple, quiet way he reaches out a hand towards her, and say “Witness me”. Every other time that line has been said, it’s been all cock-swinging showman testosterone. It has been screamed and bellowed and roared in pain and fury and violence.

And here, this lost War Boy looks into the eyes of the first person who spoke to him with kindness and compassion, and she is the only person he cares about in this moment: she is the only person he wants to witness him, because she is the most important person to him.

And her response could not be more perfect.

Goddamnit I’m crying again

(via yea-lets-do-this-shit)

redshoesnblueskies:

ecouter-bien:

So I’ve been thinking long and hard about that post about war boys and identifying with that feeling of brokenness. I think what I got from it is that I think this is how we all feel about the characters that we identify with, no matter who they are. We feel it on a deep instinctive level. We see these characters up there on the big screen and even though we know they’re not real we can feel how real they are to us in our bones. Our pain and struggles and brokenness sees the same in them and that makes them real. So thank you for making yourself vulnerable, for helping me see what you value in characters that I don’t personally connect with.

For me I see that in The Sisters, they’re all versions of me, and I’ve been open about what it meant to see the scars on Angharad’s face as someone who used to self harm and knows the psychological and physical pain that stems from that.

I see so much brokenness in The Sisters. I see it in their desperate all-or-nothing bid for freedom holed up in the back of an industrial tanker, unable to breathe, mouthfuls of dust, with no protection from the elements other than some flimsy muslin that their captor and rapist makes them wear.

I see it in the scars on Angharad’s face, a way to make herself less beautiful because being the most beautiful makes her the favourite of her rapist. And she also does it to cope, to survive, because she can’t bear the pain of living but she clings to a speck of hope that won’t let her end it all (can we talk about probable suicides among Joe’s “wives” because that is a distinct possibility in my mind). She’s carrying the child of her rapist, how do you even start imagining the psychological burden of that predicament?

I see it in the way Capable is consummately there for her best friend. She has seen her pain, knows and lives it herself and defends and supports her with the fierceness of a lioness. I see it in every moment she refuses to trust Max long after he’s deemed reliable by most of the crew. I see it in her keening and screaming for her best friend who she saw die, who she could not protect in that final moment - in her willingness to risk her life to go back and be there for her in the last moments of her life. I see it in the way she touches so gently because she can see the brokenness in others (because she knows how broken she is herself).

I see it in the way Toast retreats into herself, makes herself action in lieu of emotion because who would want to feel those toxic feelings? I see it the way she cuts off her hair to spite her rapist, to make herself as unattractive as possible because it’s some kind of so-called protection in this world where being a beautiful woman will get you raped and farmed out for breeding like a stud mare, like an object. I see it in her total willingness to embrace every and any means necessary to defend herself so that she doesn’t have to return to that life, not now, not ever. I see it in her spitting on the dead body of her rapist because he deserves it a thousand times over and she knows it.

I see it in The Dag who kicks and bites and swears like a scrappy street fighter because she’ll never go back to him, this rapist who she’s pregnant by. I see it in her recklessness in cursing her captor to his face when she doesn’t yet know if she’ll escape him or not. I see it in the way she questions anyone who kills to get by - that could be her dead at the end of their barrel. I see it in the way she blossoms under wisdom and generosity because she’s never known anything but pain and cruelty from the generation before her.

I see it Cheedo, omg do I see it baby Cheedo. She is so afraid but she’s doing this because she loves these women and trusts them. She maybe knows deep down this life she’s living is fucking her up (she’s a teenager and her captor and possible rapist is an old man) but all she knows is abuse, the so-called safety of the hell she knows compared with the uncertainty of escape and possible death? She is so broken and afraid. I see it in the heartbreaking smear of red lipstick on her lips as she relents and attempts to throw herself on the mercy of her captor after seeing her big sister, her mother figure, die. She is wild with grief and just a baby. I see it in her clambering over moving vehicles to ensure the death of her rapist, because even if she dies now, won’t it have been glorious because she was fighting to free herself, fighting for her life?

I think about how none of them have yet had time to really grieve Angharad’s death: what’s it going to be like in six months time when Capable sees something that she wants to tell her about but remembers she’s dead, or slowly forgetting the sound of her voice? Not even a picture to remember her face as time goes on and the image in her mind becomes less and less reliable.

(None of this is to say that others don’t feel this - or even have to, this is just me rambling about how broken these women are even as they fight back. This is where I see my broken self in them, they’re all me or a me who I was but have now moved beyond - the shock of those memories being jolted from my subconscious still reverberates every time I see their faces.)

#love and hugs for everyone#this movie has ripped the skin off our souls and that can be heavy going#we cling to who we cling to and that’s ok#the wives#the sisters#the five#mad max fury road#suicide tw#self injury tw#self harm tw#rape tw#i am scared to post this tbh because it’s not an invalidation of others’ experiences#and i don’t want it to be seen that way

It’s not an invalidation in ANY WAY.  Who we identify with, the characters who resonate with our souls - they are not CHOICES, they are not LOGICAL,they are not SENSIBLE.

THEY ARE SIMPLY OUR REFLECTIONS, AND WE MUST BE TRUTHFUL WITH THEM, WITH THE STORIES,WITH OURSELVES.

And I’m abso-fucking-lutely sure, that this fandom is beyond generous enough to accept this diversity of truth.

(via fuckyeahisawthat)

words-writ-in-starlight:

Having trolled some of the AO3 Fury Road tag, I’ve learned something interesting.

I am AGGRRESSIVELY here for everything involving Max and Furiosa.

I like them best as Epic Lifelong Drift-Compatible Postapocalypse Badass Bros.  They are the BroTP to end all BroTPs.  But hey.

Aromantic casual sex buddies who snark and spar?  I’m down, let’s go, I’m so down with that shit.

Asexual partners who drive around and sleep next to each other because it makes them feel safe?  Give it to me.

Soul mates in every way, sexual, romantic, practical, all of the above, who cobble together a slapdash system for running the Citadel and work through their issues?  Hell yeah, hELL FUCKING YEAH.

Long-suffering pseudo-parents to the Wives (who ship it like FedEx) and the War Boys (who worship both of their badassery in a much more healthy way than they worshipped Joe)?  I AM READY.

Witness me becoming absolute trash.

dyinghistoric:

flamethrowing-hurdy-gurdy:

dyinghistoric:

flamethrowing-hurdy-gurdy:

dyinghistoric:

flamethrowing-hurdy-gurdy:

dyinghistoric:

blatterburystreet:

night-powdr:

OKAY, WE ARE AT THE END OF JULY AND I’M STILL OBSESSING OVER MAD MAX : FUCKING FURY ROAD, HOW IS THAT POSSIBLE ?
Tell me please i’m not the only one

eh……….you are not the only one….. 

defs not the only one o wo

Still riding historic over here.

as someone whose nickname on here is Historic

I was severely confused by this for a minute

… excuse me while I go throw myself on a Buzzard car.

NO DON’T DO THAT

ITS HILARIOUS omg don’t be embarrassed

Too late, I’ve put my spray on, I’m not gonna wash it all off again now.

well in that case I’LL WITNESS

(via dyinghistoric)

Mad Max: Denial Road

sickmonkeyiswarboytrash:

Never in my life did I think I would live to see the day where an entire fandom is in denial of, not only A character’s death, but a majority of a film’s characters’ deaths in general.

Mad Max: Fury Road

Everyone lives according to this fandom, and there’s no telling them, ahem, us otherwise.

(We all good with Joe bein offed right)

(Damn skippy, it was satisfying as fuck.)

(Source: sickmonkey89, via bonehandledknife)